This research is borne out of an object-based, visual art practice centred on sculpture and domestic material culture. In this exegesis, I examine the mutability of objects in the home environment, with particular emphasis on what I will call ‘peripheral objects:’ personal items that are not thrown way, but remain in the domestic periphery, in garages, under beds, or along the sides of houses. I argue that these objects, of ambiguous purpose and value, are infused with human experiences and therefore offer unique opportunities for investigating human subjectivity and psychology. This is particularly true when they are used as materials for sculpture. This exegesis considers the capacity of peripheral objects to convey the emotional value of daily routines and practices in the home. Of special interest to me are the repetitive, caredriven, material actions or gestures that are frequently put to use in the running of a family household. I use the term ‘domestic gesture’ to refer to actions including, but not limited to, wrapping, ripping, folding, smashing, stacking, arranging, stitching, and hanging. I assert that while these gestures may be motivated in the first instance by mundane practical necessity, they can also contain an implicit psychological complexity. Domestic gestures can constitute acts of intimacy and care for the family and its possessions. They can also be personally and psychologically challenging, acting as a material centre point for interpersonal obligation, sadness, grief, and regret. I explore this duality of positive and negative connotations in my studio practice through selecting, destroying, combining, and arranging materials and objects into sculptural forms. [...]